lesley-anne down

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The year is 2274 and comedy is now a religion with Chaplin, Keaton and W.C. Fields revered as gods. Life is an endless stream of corny jokes, but Prince Boffo (Barker), shortly to ascend to the throne, is increasingly dissatisfied with this. His wife, Princess Hysteria (Joyce Grant), is baffled to learn that Boffo’s lost his sense of humour, but his daughter, Cheeky (Lesley Anne-Down) is more sympathetic. Is Boffo fit to be King? That’s for the Arch Funster (Michael Horden) to find out ….

Written by Barker (under his regular pseudonym of Gerald Wiley), All the World’s a Stooge is an intriguing and vaguely experimental sci-fi story. No expense was spent to bring 2274 AD to life, although it’s possible this was an intentional nod to series such as Out of the Unknown, which also tended to depict future times on a shoestring budget. And even if it wasn’t, it works anyway – flimsy looking sets and lashings of CSO just seem to be right for this type of story.

Did this obscure little playlet influence future writers? It’s easy to see parallels in several later Doctor Who stories. Vengeance on Varos also featured a couple who provide a running commentary on events, watching via their television screen (here it’s Joy Stewart and Victor Maddern as Tarty and Atlas). And The Happiness Patrol could easily be depicting a sister world to this one.

Ronnie Barker loved corny gags and would later recycle many of them in the Two Ronnies Yokels sketches. I’ve no doubt he enjoyed giving the old jokes featured here another airing, but there was also room to air a serious point. This sort of humour becomes mechanical over time, with no joy to be gained from the responses and punchlines. Boffo wants a world where humour is natural and unforced and it appears by the end of the episode that he’s got his wish, even if most of the planet (including his wife) don’t understand this and are simply glad he appears to be his old, funny self again.

A strong guest cast helps to enhance Wiley’s script. Horden looks to be enjoying himself as the Arch Funster, especially when doing the Groucho walk. Lesley-Anne Down is very appealing as Boffo’s idealistic daughter whilst Jack Tripp also impresses as the doctor who tells Boffo that his father is dead (“do you know what’s good for water on the brain? A tap on the head”).

Although it features a couple of indifferent instalments, overall Six Dates with Barker is a pretty strong series. A few years later, after Barker moved back to the BBC, they did something similar with Seven of One, although that would produce both of Barker’s biggest sitcom successes …

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Written by Michael J. Bird
Directed by Ken Hannam

After Eric and Diana Carver move into their dream house in the country, Diana (Lesley-Anne Down) feels very happy, claiming a special connection to the place. This pleases Eric (Iain Gregory) who is well aware of his young wife’s traumatic past. Several years earlier, when Diana was still a schoolgirl, she was raped – and the effect of this experience is still felt very strongly by her (for example, she resists any sexual advances from Eric).

But their idyllic peace is shattered when they realise that they’re not alone. The house is also inhabited by a ghost, which seems to have a special interest in Diana. On several occasions Eric comes close to death at the hands of Diana (under the control of the ghost). Paranormal specialist Dr Walter Phillimore (Peter Barkworth) is intrigued by the case, but warns Eric that both he and his wife are in danger if they remain in the house …..

The first surviving episode from the fourth and final series, To Lay A Ghost was written by Michael J. Bird, later to pen acclaimed series such as The Lotus Eaters, Who Pays The Ferryman? and The Aphrodite Inheritance. To Lay A Ghost has attracted a certain amount of notoriety over the years, and it’s not difficult to see why.

The story opens with scenes of the schoolgirl Diana being raped (although nothing graphic is seen, it’s obvious what’s happening). Later in the story, Phillimore tells Eric that he’s been too considerate with his wife (implying that he should force himself on her). Another implication is that the ghost (a 19th Century murderer and rapist called Thomas Hobbs) has been summoned due to Diana’s repressed desires.

This seems to be confirmed when Diana says to Eric that if he wants her to do something then he shouldn’t ask her – he should make her. From this, Eric concludes that Diana enjoyed the rape and has subconsciously wanted it to happen again ever since. Eric is unable to treat her roughly, so he leaves. Diana is left alone, waiting on the bed for the ghost to appear. Her last words are identical to those she spoke just before she was raped – which is a clear indication of what will happen to her after the credits have rolled (and explains the double-meaning of the title).

Apart from the controversial nature of the story, it’s a fairly static and underwhelming production. The seventeen year old Lesley-Anne Down looks lovely (but is rather wooden) whilst Iain Gregory also gives a somewhat indifferent performance. Things do pick up when Peter Barkworth appears, as he adds a touch of class to proceedings.

Whilst the ending is memorable (if somewhat questionable) the rest of the story is less engaging. To Lay A Ghost isn’t totally without merit, but it’s certainly something that it’s difficult to imagine being broadcast on mainstream television today.

Next Up – This Body Is Mine